On Writing Christian Fiction for Publication
At Gospel-Centered Discipleship, we are not only interested in producing resources that “make, mature, and multiply disciples of Christ,” but we want to develop writers who can produce these kinds of resources. So, from time to time we publish interviews with authors and editors to get us thinking about what others have learned and how we can grow.
Many of the writers we serve also write fiction. This month, I interviewed Amanda Cleary Eastep. She is a children’s author, and the Tree Street Kids is her middle-grade series (Moody Publishers). Amanda is also the senior developmental editor at Moody Publishers in Chicago, where she works closely with authors to help shape Christian nonfiction books in the areas of Christian living, church and ministry, and personal and spiritual growth.
We’re thrilled to hear from her about the craft and the industry, specifically how it relates to fiction writing.
* * *
[Timarie] First, what drew you to write fiction, and how did you begin?
[Amanda] My desire to write fiction was fed, if not actually sparked, by my childhood love of reading. I was the proverbial bookworm, big glasses and all. But I recall wanting to write stories before I became a voracious reader. A small glass doll sat on the dresser in my bedroom, and she was just begging for a backstory. So, at about the age of six, I wrote one, and I never really stopped writing.
[T] A big question many of us have—integrating faith into fiction. What have you learned works, and what do today’s readers want regarding faith-based fiction?
[A] What readers want varies, even among a Christian audience. That’s why it’s imperative to know your ideal reader as well as your publisher’s audience—which shouldn’t differ widely, or you likely won’t be contracted. Many of my readers are from homeschooling families or families who actively practice their faith and want their children to read books that don’t shy away from God, religion, and the Bible. However, most kids and their parents also don’t want catechizing. My rule of thumb for making faith part of the story is 1. Tell a good story. 2. Make faith authentic to the characters.
The Tree Street Kids characters include three characters from an evangelical background, one from the Catholic tradition, and one who doesn’t attend church but is learning what God means to his friends through their everyday interactions. One example of faith as part of characterization is Ellison Henry, the best friend of my ten-year-old main character, Jack Finch. While Ellison could win first place in a Bible Bowl, the only verse Jack has memorized is “Jesus wept.” The diversity of faith backgrounds (various Christian faiths, or no church involvement) gives the main character an opportunity to consider how he lives out his faith and how that influences his friends. This invites the reader to consider the same: When I’m afraid, can I pray the way Jack does? When my friend is sad, should I share the verse my mom shared with me when I was sad? The characters’ different experiences also resonate with a broader readership. A young reader—who, like Roger Jennings, doesn’t come from a believing family—is invited into the story and, I hope, senses God’s love there.
[T] Gospel-Centered Discipleship has a Writers’ Guild, a group where about one hundred of us chat about all things related to writing. We have a few specific questions from our guild members. Lara d’Entremont in Barrington, Canada, asks, how important is platform for fiction authors?
[A] The importance of platform may depend on the publisher, but in general, platform is not a requirement for fiction writers the way it usually is for nonfiction writers. With nonfiction, platform can sometimes take priority over quality writing. As a developmental editor, I’ve worked with pastors, CEOs, scientists, and physicians. They are experts in their field who have large platforms/networks, fascinating stories, and helpful insights to share, but rarely are they writers first. It can help a fiction writer’s chances of publication, though, if they are connected to readers or potential readers via social media, a podcast, blog, or online literature platform like Wattpad. If you’re a fiction writer but aren’t accessible to a potential audience, I’d recommend choosing one avenue for connecting that you think you’d enjoy and begin to build on it. When writers don’t have a social media platform or website, for instance, publishers may expect them to establish some presence. I started my Instagram account (@book_leaves) in 2017 as part of my goal to move back into writing and publishing children’s fiction. My account has morphed a bit over the years, but I focused on sharing my favorite children’s books and parts of my writing journey. I chose Instagram because I enjoy taking photos and microblogging and knew I’d stick with it because of that. For me, Instagram has been the best platform for connecting with homeschooling families and children’s book reviewers.
[T] Josh Kubler in Nesbit, Mississippi, wants to know if you have any specific tips for making a fictional story and/or proposal stand out to a publisher?
[A] Agents/acquisitions editors (from the publishing house) look for a unique premise and excellent writing. If an agent agrees to see your manuscript, they’ll be looking for a story that isn’t like everything else on the bookshelves and one that contains all the other elements vital to a quality story: complex characters, good pacing, well-developed plots, believable and immersive world-building, etc. Other qualities agents and publishers look for in an ideal author include, the potential for a writer to produce additional high-quality books, a writer who is willing to be edited (no writer should ever hand a manuscript to an agent or publisher thinking, “done”), and a writer who understands what it takes to be an author.
Regarding proposals, you probably won’t create an actual proposal until a publisher has agreed (following a pitch to an agent or acquisitions editor) to consider your manuscript. Nonfiction books are usually contracted based on sample chapters and a proposal; for fiction, a completed manuscript is required. For proposals that accompany those manuscripts, here are a few items you might highlight:
Your book’s unique premise. What’s different about your story? Are you filling a gap on the bookstore shelf? When I pitched my series, there wasn’t much realistic fiction in the Christian middle grade (ages 8–12) category (more fantasy and magic realism), and none I knew of set in the 1990s. This is where the Tree Street Kids series stood out. Can you communicate your book’s storyline in a memorable nutshell? If you’ve pitched to agents or written a query letter, you probably prepared an elevator pitch or logline, an intriguing one-sentence summary of your story. These are tough to write, but just like a synopsis or back cover copy, writing these in the early stages of drafting your book can be an effective way to gauge how well you know your story and what sets it apart from other books in the genre. You can also prepare a “this meets that” comparison: basically, if one popular book and another popular book had a baby, it would be your book. Think, Presidential biography meets Dracula = Abraham Lincoln, Vampire Hunter. I had a little fun with mine: the Vanderbeekers meet Jesus.
Comps. If you’re writing fiction, then you’re reading it and will be familiar with books that are comparable to yours (both general market and Christian). You would include a list of about 3–5 of these “comps” in your proposal and explain how your book is similar, but more importantly, how it’s unique.
Network. As mentioned, despite not needing a platform, it does help your chances of publication if you have connections—established authors or people with influence in your genre who would endorse you, or if you blog, speak, teach, or podcast, you may have an audience that would automatically buy your book (unless your podcast is about gardening and you’re writing sci-fi/horror . . . of course, the book Zombie Gardening just popped into my head!).
You. Your bio will include the usual applicable highlights, but with Christian publishers, you may need to communicate (more overtly than your book might) how your story will help readers grow in their faith. Where you stand doctrinally may be important to a publisher too. Before you even get to the proposal stage, though, you will have done your homework on potential publishers and know whether you’re a fit for each other. If you’re agented, knowing this is part of their job. Moody Publishers, for example, publishes authors whose beliefs align as closely as possible with Moody Bible Institute since the publishing house is connected to the college.
[T] Erin Jones in Bethesda, Maryland, wants to know what kinds of criteria catch a publisher’s eye about a new author aside from the work itself?
[A] Publishers want to know a potential author will put in the work, not only to write the book, but to edit, market, and publicize it. The publishing process doesn’t end when you type “The End,” or even once the book goes to the printer. Far from it. Gone are the days when publishers did most of the marketing and publicity. Smaller publishers even more so will expect your ongoing efforts. Once the initial launch and big push has passed, authors should expect to be pounding the pavement if they want to help get their books to more readers. If you’ve had any previous experience in meeting deadlines and responding to editors, communicate this to your agent and acquisitions editor. I had an agent once show interest in me primarily because she knew I’d been a writer in higher ed and corporate settings. It’s easier to take a chance on a writer who is a consummate professional, not just a good storyteller, even if the book they’re currently pitching isn’t a fit. That’s why it’s good to have other manuscripts, or at least well-formed ideas, waiting in the wings. I’ve seen acquisitions editors work with writers whose first manuscripts weren’t a fit, but who were willing to take their manuscript in a different direction or had a solid idea for a different book.
[T] Adsum Ravenhill in Reading, United Kingdom, asks, what’s the place of fiction for adults in the landscape of Christian literature, and is it something publishers are actively seeking out?
[A] Christian readers will always want good fiction based on biblical principles. The best way to keep track of what’s currently doing well in the market is to read publications such as Publishers Weekly. However, what’s popular this year may not be next year. A writer should first put their energy into writing the book they feel called to write—the book they want to write. Familiarize yourself with potential publishers. Who publishes the type of book you’re writing? Get to know agents (many are on Twitter) and pay attention to their submission wish lists (these are usually included on their agency’s website). Agents always have their finger on the industry’s pulse. Since most publishing houses don’t accept unsolicited manuscripts, finding an agent may be your next step after writing and rewriting and editing your manuscript.
If you really want the inside nitty-gritty on publishing, Jane Friedman sends out “The Hot Sheet” to subscribers for about $50/year. Join associations such as the American Christian Fiction Writers (ACFW) and Society of Children’s Book Writers and Illustrators (SCBWI) to stay informed, connected, and educated as they offer free/affordable webinars and online workshops in addition to industry news, online groups, contests, and conferences. Again, PW is an easily accessible source even if you don’t subscribe. A quick Google search for 2023 titles and predictions yielded these articles: Adult Books for Spring 2023 and Agents Offer Predictions for Christian Publishing.
Thank you for all the great questions! I hope I’ve helped answer them. My final advice comes from my own experience as a writer: Put aside the idea of publishing, just for a little while. Write your book—pour your energy and heart into it. A year before I started my day job as a developmental editor, I made a commitment to return to work on my young adult (ages 13–17) fantasy manuscript. First, I surrendered my expectation of publishing to God, and then I dedicated every commuter train ride into the city to writing only. I bought my Jamba Juice at the station, found a single seat on the top deck of the “quiet car,” and put pen to paper. It was pure joy. A year later I had about 50,000 messy words. I still have 50,000 messy words because, not long after that, I was presented with an unexpected opportunity to pitch a story for middle grade readers, a demographic I had been thinking might be a better fit for my writer’s voice. I suppose God knew it would be.
[T] Amanda, thanks for sharing your wisdom and industry knowledge with the GCD Writers’ Guild and with those who aspire to write Christian fiction for publication.
Timarie Friesen leads the GCD Writers’ Guild and enjoys connecting writers with resources. She writes short stories and articles and works as an editor of fiction for a small publisher. She and her husband, Mark, live in northern Iowa with their three children and are active at Hope Church.
